| 中文版 English

具体要求

其它要求

-
关闭
李真 Li Chen b.1963 天界山水 Landscape in Heaven
香港
2024年04月07日 开拍 / 2024年04月05日 截止委托
拍品描述
銅雕 版數:4/8
Bronze sculpture Edition: 4/8
二〇〇一年作
Executed in 2001
122 × 75 × 63 cm. 48 × 29 1/2 × 24 3/4 in.
款識 李真Li Chen 4/8 2001(背面底部) 出版(不同尺寸、版數) 2004年,《李真雕塑1992–2002》,亞洲藝術中心,台北,第78至79頁 2006年,《李真——大氣神遊》,亞洲藝術中心,台北,封面 2007年,《李真——虛空中的能量:第52屆威尼斯雙年展》,亞洲藝術中心,台北,第104至107頁 2008年,《李真——尋找精神的空間:中國美術館個展》,亞洲藝術中心,台北,第30至37頁、第170、174、176頁及第196頁 2009年,《李真——神魄︰2008北京798個展》,亞洲藝術中心,台北,第24頁 2010年,《李真:精神.身體.靈魂:2009新加坡美術館個展》,新加坡美術館,新加坡,第57、126、138、150頁及第153至154頁 2012年,《李真——大氣:李真台灣大型雕塑首展》,亞洲藝術中心,台北,第28及第80至81頁 2014年,《李真——既重又輕︰2013巴黎凡登廣場大型雕塑個展》,亞洲藝術中心,台北,第65、79頁及第84至85頁
Signed in Chinese and English, numbered, and dated on the bottom of the backside LITERATURE (different sized edition) 2004, Li Chen 1992-2002 Sculpture, Asia Art Center, Taipei, p. 78-79 2006, Li Chen: Oriental Sculpture Spiritual Journey, Asia Art Center, Taipei, cover page 2007, Li Chen: Energy of Emptiness, 2007 Solo Exhibition at 52nd International Art Exhibiton-La Biennale di Venezia, Asia Art Center, Taipei, p. 104-107 2008, Li Chen: In Search of Spiritual Space, 2008 Solo Exhibition at National Art Museum of China, Asia Art Center, Taipei, p. 30-37, 170, 174, 176, and 196 2009, Soul Guardians: Li Chen Sculpture, Asia Art Center, Taipei, p. 24 2010, Li Chen: Mind.Body.Spirit, Li Chen Solo Exhibition at Singapore Art Museum, Singapore Art Museum, Singapore, p. 57, 126, 138, 150, and 153-154 2012, Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Asia Art Center, Taipei, p. 28, and 80-81 2014, Monumental Levity of Li Chen: Premiere Sculpture Exhibition Place Vendome, Asia Art Center, Taipei, p.65, 79, and 84-85
展覽(不同尺寸、版數) 2007年6月8日至11月21日,「第52屆威尼斯雙年展——李真:虛空中的能量」,威尼斯 2008年4月29日至5月11日,「李真:尋找精神的空間」,中國美術館,北京 2009年9月17日至12月9日,「李真:精神.身體.靈魂」,新加坡美術館,新加坡 2011年11月6日至12月4日,「大氣——李真台灣大型雕塑首展」,中正紀念堂及自由廣場,台北 2013年9月2日至29日,「既重又輕——李真2013巴黎凡登廣場大型雕塑個展」,凡登廣場,巴黎 2018年11月3日至2019年1月27日,「古往今來——李真個展」,震旦博物館,上海 來源 台北亞洲藝術中心 現亞洲重要私人藏家直接購自上述來源 附:台北亞洲藝術中心開立之作品證書 神遊天界山水,燃動性靈光輝 李真雕塑的智慧與生命力 「我試著在我的作品裡找到靈性的空間,也希望這靈性與藝術結合。我希望看到我作品的人能夠察覺並吸收其中的精神元素,哲理對我的作品來說具重要的意義,而我希望每一件作品都能豐富觀賞者的人生。」 ——李真 如天外來客般撼動視野,如遠古經典遺世獨立,當代華人雕塑大家李真,以其溫潤大氣、飽富禪意的「虛空」美學雕塑,屢屢震撼著世人。從2007年「虛空中的能量」個展受邀參加世界最具學術地位的第52屆威尼斯雙年展,而獲至高榮譽,到2008年北京中國美術館的「尋找精神的空間」、2009年新加坡美術館「精神.身體.靈魂」、2011年台北中正紀念堂「大氣」、2013年巴黎凡登廣場「既重又輕」、2018年上海震旦博物館「古往今來」等一眾大規模的個展,生於1963年的李真,至今已於紐約、芝加哥、邁阿密、修士頓、巴黎、倫敦、日內瓦、威尼斯、上海、北京、新加坡、首爾、雅加達、台北等多個城市展出,私人及公共收藏遍佈全球,獲得廣大迴響及肯定,更撼動了無數人的心神。 李真成長於現代雕塑教育的背景,26歲時因緣際會下從事傳統民藝創作,這一特殊經歷影響了他日後的創作理念和元素,使得傳統文化與禪宗精神始終深紮於其作品之中。自1998年起打破自我在傳統佛像的創作制式,李真便以「虛空中的能量」系列打開創作的全新面貌。他將紮實的傳統雕刻基礎以及材料知識加以當代形態的改變,藉由墨色生漆的傳統技藝,創造出外觀渾圓厚重,內裡似空盈載氣的形象,奠定其「似重又輕」的美學基調。而他並由儒釋道三家的教義哲思出發,為每一件作品打造獨樹一幟又發人深省的議題,在孩童般天真的圓融面相裡,注入充滿禪意的靈魂,呈現出兼具古典與現代的藝術新貌。 以西方的當代雕塑構形,揉合東方傳統哲思,渾圓黑漆的身軀,祥和的面容,再加之以銀或金彩的點綴,已成為李真獨特風格的代表。是次所呈現「大氣神遊」系列的《天界山水》(拍品編號35)和「天燧」系列的《燃燈》(拍品編號36),分別自塵世觀天地,由身外觀內在,以極具靈氣的視角,為觀眾打開了性靈內外的雙重空間。 首創金、銀、黑三位一體的里程碑之作 《天界山水》的物我合一 作為「大氣神遊」系列的重要代表,完成於2001年的《天界山水》,是李真首件融合「金、銀、銅」三種材質和色彩的作品,具有里程碑式的代表意義。銅質表面以黑色生漆的「漆藝」上色,細膩溫潤,通過明暗起伏和光影的微妙變化,令固態的雕塑散發出別樣的深邃之美。而李真並以傳統佛像塑形功力為基礎,自唐代與六朝的佛像美學中提取出豐腴的體態和簡淨的線條,創造出圓潤飽滿又輕盈流暢的個性化語言,墨色上再融入貼金、貼銀的技巧,作為點睛之筆,以二者所代表的「山」、「水」、「雲」的特徵形象,孕生出虛實與輕重間的氣韻。 鎔鑄東方佛像的精美凝鍊與當代的簡潔純粹,《天界山水》中的大士,面容圓潤,歡顏舒展,左手端起金山、右手平攤銀海,腳踏祥雲而來,帶領世人進入宛如涅槃的精神世界,此正契合該系列作品對「大氣神遊」的追求。圓融的身相塑形,令大士似充盈氣體而遨遊虛空,強烈穿透的氣場超脫凡俗,隱含道家「精、氣、神」的意象本質,使觀者不自覺地跟隨之神遊物外,自發性地構築出完滿的精神性空間。在墨漆的磅礴張力下,熠熠的金銀彩折射出璀璨的光輝,銀箔溫潤、金箔堅實,將精緻平滑和粗礪摩挲兩種質感作出鮮明對比,並由此延伸出對真義的探討。意為「物質」的金山,與比作「精神」的銀海,隱喻著塵世豐饒的物質生活和思想富裕的精神世界,二者與墨黑銅雕的素淨產生強烈對比,呈現「物與我的觀照」。「金山銀海」在雙手間一高一低,如同正處天平上的兩側,暗指著當代社會中,人們因對物質慾望的無盡追求而迷茫,在二者間遊移不定。透過此作,李真闡釋著他心中的終極理想,亦令觀者省思生活的意義和生命的價值:物質的富足離不開精神的食糧,而崇高的精神亦需物質的支持。唯有「物我歸一」,外在物質和內在精神得到雙向富足之時,才能獲得頓悟與自在,彷彿登臨天界,享受那踏雲乘風行的輕鬆自在,達至圓融、完滿的人生狀態。 智者樂水,仁者樂山 「知者樂水,仁者樂山;知者動,仁者靜;知者樂,仁者壽。」 ——孔子《論語.雍也篇》 儒家思想中有「比德」一說,即是將大自然中的山水,比照人類的品德。李真創作的根基,即是來自於東方的哲學精神,《天界山水》在探討物質與精神的二元思想之外,即重新審視著人與自然的關係。正如儒家所見,智者樂水,因水之動,代表著思維之變,仁者樂山,以山之靜,代表著厚德載物。故而在李真之作中,仁愛和智慧之人,必能從山水中照見自己的天性和追求,看到自我的精神映照,此處主角雙手所承托的山和水,正是連接兩種人生。然而在當代的視角裡,金山銀水,事實上並不存在於現實,而是一種想象,它既可是世俗意義上對財富的比喻,也可看作「精神的礦山和海洋」,同時也代表著富貴與安詳。此外:值得一提的是,不同於李真其他作品中的祥和微笑,此作中的大士,嘴角上揚,正如孩童般一展歡顏,示現著一份返璞歸真的純粹,傳遞得悟之歡喜。正如其言:「藝術的偉大在於『分享』,藝術的成就在『真實與虛幻』之間。我不只在做雕塑,我在創造幸福,創造一種讓人享受的東西。」足見《天界山水》的多重深義。 以身點燈,光火長明的智慧心覺 「天燧」系列首作《燃燈》 「譬如一燈,?入於闇室,?百千年闇,?悉能破盡。菩薩摩訶薩菩提,心燈亦復如是,入於眾生心室之內,百千萬億不可說劫,諸業煩惱、種種闇障悉能除盡。」 ——《華嚴經?普賢行願品》 承接2002年「大氣神遊」系列對精神空間的外化,李真自2008年開展了僅8件創作的「天燧」系列,將精神空間重返人形,再下一城。該系列之名取自遠古鑽木取火的「燧人氏」,意以火種傳播開啟文明紀元,而李真自當代語境的發想,將人與燈火、寶塔形象結合,然而「點燈」的象徵意義貫穿始終,藉由燭火閃爍的動態語彙,打開作品的精神維度,並將觀者納入與作品的心靈互動之中。完成於2010年的《燃燈》,正是該系列的開篇之作,源自藝術家一日在家中點燈之時的剎那頓悟,因而成就「天燧」系列,承載其突破自我創作格局、點燈開悟的靈光。 《燃燈》中,宛如童子的主人公正直立於山峰之上,右掌平放,掌心內凹,以作燭臺之用,身如燈台,頗有戰國時期「立人銅擎燈」的巧思,但李真在此更大膽地拉長比例,仿擬蠟燭柱身之形,將人物抽高,傳遞著「以身點燈」的靈思。而童子以另一手掌護住火燭,雙眼下斂,悉心看顧懷中的光芒,在無聲中流露出專心致志的決心,在這點燈的過程中,雕塑的三維實體更進一步觸動觀者的知覺,產生「人、雕塑與火光」間的對話,予人平靜、五感放大的視覺感受:透過點燈的儀式,看著燭火,人的步調也會隨之放慢。墨黑生漆的朦朧色澤與燭火的光影相互表述,在靜態的立體感之外,賦予雕塑一種充滿變化的視覺動感。正如達摩祖師言:「長明燈者,即正覺心也,以覺明瞭,喻之為燈,智慧明達,喻如燈火,當燃如是真正覺燈。」以身為燈,以此照明內心的困頓,守護燭火,流露出智慧的明覺火光,映照著輕盈澄澈的內心。 李真自《天界山水》提出自然與社會、物質與精神之間的關聯,由內向外地傳遞對超凡圓融的嚮往,再以《燃燈》追溯心靈的祥和寧靜,由外向內地展現身處凡世、以身點燈的淨心追求。作品充分展現他對儒、佛、道之東方哲學的綜合闡述,透過大氣磅礴又不失幽默的美學特點,為每一位駐足的觀眾,注入靈性的光輝。
EXHIBITED (different sized edition) 8 Jun – 21 Nov 2007, Li Chen: Energy of Emptiness – 52nd International Art Exhibition – La Biennale di Venezia, Venice 29 Apr – 11 May 2008, Li Chen: In Search of Spiritual Space, National Art Museum of China, Beijing 17 Sep – 9 Dec 2009, Li Chen: Mind.Body.Spirit, Singapore Art Museum, Singapore 6 Nov – 4 Dec 2011, Greatness of Spirit – Li Chen Premiere Sculpture Exhibition in Taiwan, Chiang Kai-Shek Memorial Hall and Freedom Square, Taipei 2 – 29 Sep 2013, Li Chen‘s Major Sculpture Solo Exhibition, Place Vendome, Paris 3 Nov 2018 – 27 Jan 2019, Through the Ages – Li Chen Solo Exhibition, Aurora Museum, Shanghai PROVENANCE Asia Art Center, Taipei Acquired directly by present important private Asian collector from the above This work is accompanied by a certificate of authenticity issued by Asia Art Center, Taipei Travelling in Heavenly Landscapes, Enlivening Spiritual Radiance The Wisdom and Vitality of Li Chen’s Sculptures Merging the roundness and refinement of the oriental Buddha statues, humour, and interest of contemporary elements, Li Chen presents the attitude of "lifting weight as light ", which is the individual vocabulary of Li’s sculptures. He refines Eastern philosophies from the principles of Buddhism and has realized spiritual perception from the inside out. He tries to convey a different spiritual world with different works, which is widely praised by the Chinese and Western art circles. In 2007, he became the first Chinese artist to hold a solo exhibition in the Venice Biennale, and in 2008, 2009, and in 2011 he successively held solo exhibitions at the National Art Museum of China, Singapore Art Museum, and Chiang Kai-shek Memorial Hall in Taipei. In 2013, the large-scale exhibition held at Place Vendome in Paris caused huge attention. His works were also collected from organizations, such as the Kaohsiung Museum of Fine Arts, the Geneva Olenska Foundation, St. Regis Hotel in Singapore, and other institutions, which shows his leading position in the Chinese art world. At this auction, we present Li Chen’s Landscape in Heaven (Lot 35), viewing heaven from the earthly world, and Illuminator (Lot 36) , viewing the inner world from the outer world. They open up a dual space for the audience, both inside and outside of the spirit, with a very spiritual perspective. The First Landmark Creation in Gold, Silver and Black The Unity of the Object and the Self in Landscape in Heaven As an important representative of the Great Ether series, Landscape in Heaven, completed in 2001, is the first work by Li Chen that combines the three materials and colours of gold, silver and copper, which is a milestone of representative significance. Melting the exquisite and condensed Oriental Buddhist statues with contemporary simplicity and purity, the character in Landscape in Heaven has a rounded and smiling face, holding up a golden mountain in his left hand and spreading a sea of silver in his right hand, and riding on two clouds, leading to the spiritual world of nirvana. The rounded shape of the body makes the character seem to be filled with gas and travelling in the void, and the strong penetrating aura is beyond the ordinary, implying the essence of Taoist imagery of "qi". The glittering silver foil is gentle and the gold foil is solid, contrasting the two textures of exquisite smoothness and coarse- ness. The gold mountain, which means "material", and the silver sea, which is compared to the "spirit", are metaphors for the rich material life of the earthly world and the rich spiritual world of the mind, which are in sharp contrast to the purity of the ink-black bronze sculpture, presenting a "view of the object and the self". The "Gold Mountain and Silver Sea" are held high and low between the two hands, like two sides of a scale, alluding to the fact that in contemporary society, people are lost in the endless pursuit of material desires, and fluctuate between the two. Therefore, through this work, Li Chen explains the ultimate ideal in his heart, and makes the viewer reflect on the meaning and value of life: material abundance is inseparable from spirituality, and the noble spirit also needs material support. Only when external material and internal spirituality are rich in both directions, can one achieve enlightenment and freedom, enjoying the relaxation and ease of travelling on the clouds and the wind, and attaining the state of a rounded and fulfilled life. The Knowledgeable Love Waters, the Benevolent Love Mountains "The knowledgeable love waters, the benevolent love mountains; the former are active, the latter are tranquil; the former enjoy a happy life, the latter enjoy a long life." ——Confucius, The Analects of Confucius: The Book of Yongye In Confucianism, there is a saying of "comparing virtues", which compares the landscapes in nature to the virtues of human beings. In addition to exploring the duality of materialism and spirituality, Landscape in Heaven re-examines the relationship between human beings and nature. As Confucians see it, the wise man loves water, and the movement of the water represents the change of thinking, while the benevolent man loves mountains, and the quietness of the mountains represents the virtue of carrying things. Therefore, in Li Chen’s works, people who are benevolent and wise will be able to see their own nature and pursuits in the mountains and waters, and see their own spiritual reflections. The mountains and the waters that the protagonist is holding in his hands here are precisely the connection between the two lives. As he says, "The greatness of art lies in ‘sharing’, and the achievement of art lies between ‘reality and illusion’. I am not only making sculptures, I am creating happiness, creating something for people to enjoy." This indicates the multiple meanings of this artwork. Lighting the Lamp with Body, Wisdom of the Everlasting Light Illuminator, the First Work of the Beacon Series The Beacon series completed in 2008 was another turning point for Li’s sculpture creation, which further developed a richer context regarding to both the materials and concepts. In this series of only 8 pieces, the gilding is an element added for the first time, symbolizing fire and lighting, and helping the viewer have the spiritual interaction with the work. Illuminator is the first work of the series, originating from the artist’s exprience with instant enlightenment when he lighted a candle one day. The Beacon series thus carries the inspiration and meaning of the artist’s breakthrough of his art creation. In Illuminator, the child-like protagonist is standing upright on a mountain peak, his right palm flat and concave to serve as a candlestick, and his body as a lampstand, which is quite similar to the ingenuity of the "Standing Man with Bronze Lamps" of the Warring States period. But Li Chen has even more boldly stretched the proportions here, imitating the shape of the candle’s pillar, and pumping the figure up to convey the idea of "lighting the lamp with his body". The child protects the candle with the palm of the other hand, and his eyes are recessed downwards, carefully watching the light in his arms, revealing his determination in silence. In the process of lighting the lamp, the three-dimensional solidity of the sculpture further triggers the viewer’s perceptions, generating a dialogue between "the man, the sculpture, and the fire," giving the viewer the visual sensation of calmness and the amplification of the five senses. With the misty colour of the ink-black lacquer and the light and shadow of the candle flame expressing each other, the sculpture creates a dynamic visual sense of change in addition to a static sense of three-dimensionality.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
1,000
10,000
2,000 5,000 8,000
100,000
10,000
200,000
20,000 50,000 80,000
1,000,000
100,000
2,000,000
200,000 500,000 800,000
10,000,000
1,000,000
+

价格信息

拍品估价:1,100,000 - 1,800,000 港币 起拍价格:1,100,000 港币  买家佣金:
落槌价 佣金比率
0 - 5,000,000 20.00%
5,000,000 - 20,000,000 17.00%
20,000,000 - 以上 14.00%

拍卖公司

中国嘉德(香港)国际拍卖有限公司
地址: 中国香港金鐘道89號力寶中心一座五樓
电话: 852-28152269
邮编: 10000
向卖家提问